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JUBILANT INSIGHT India Celebrates Find inspiration for celebratory colour palettes through conversations on colour with three leading design professionals.







Ambrish Arora

Mayank Mansingh Kaul


10 IN FOCUS Fabric Inspired Finishes with Royale Play Textile Textile based finishes for commercial and residential projects from Asian Paints.

Colour for Educational Institutions Highlighting the importance of colour usage within a space to promote learning.

INDIA CONNECT 18 The Colours of Navarasa


The continuing series on the Navarasa focuses on colour associations of Hasya (Joy) and Karuna (Compassion).



Sarthak Sengupta




Autumnal Hues Explore the colour nuances of an Indian and a temperate autumn.

Mingling Modern with Vintage 30 Interior designer Michelle Workman on choosing colour palettes for her clients’ personalities and spaces.


Egypt—Snapshots along the Nile Quintessential Egyptian colours derived from its history and landscape.







Associations and connections to the colour Deep Pink–X132 grow at different levels supplemented by visuals to help kickstart your creative process.

Shocking Pink–8126 | R 224 G 103 B 147

Fox Glove Pink–5155 | R 190 G 94 B 107

Red Alert–X124 | R 171 G 46 B 70

Deep Pink–X132 | R 47 G 52 B 90

Fine Wine–8109 | R 129 G 53 B 69

Cherry Bon Bon–X135 | R 102 G 49 B 73

Paint Query • 35 Colour Query • Service Query •



Fabric Inspired Finishes With

Royale Play Textile Extend the catwalk into your living room and add drama to decor with Royale Play Textile, a range of unique effects inspired by fabric that will engage your imagination and senses. Royale Play Textile is a response to the growing trend of using fabrics creatively for home decor and is the easiest way to express your individuality within a space. Just as thread is woven to make textile, the history of textile is interwoven with ours. Fluid, sensual, and evocative, they have always been a tangible part of our lives, fascinating us with their tactility and elegance.

Visually stimulating and available in contemporary palettes—Royale Play Textile will add a sophisticated allure to any space, enthralling and captivating all who experience it. The range consists of six designer finishes that incorporate the qualities of different fabrics. Bring the distinctive warp and weft effect, with its sense of richness and ephemeral movement into your home using Royale Play Textile.



1 Royale Play Textile–Denim Royale Play Textile–Denim Base Coat: Frost Blue–9180 Top Coat: Monsoon Sky–9157

Inspired by the iconic fabric denim, this finish with its myriad facets is unapologetically modern. It effortlessly exudes attitude and confidence that makes a strong style statement on interiors ranging from bachelor pads to retail stores.

Royale Play Special Effects Tool for Denim » Yarn Tool + Denim Brush

Royale Play Textile–Denim Base Coat: Fairytale–7251 Top Coat: Caspian Sea–7294

Royale Play Textile–Denim Base Coat: Sensibility–8267 Top Coat: Grey Matter–8304

2 Royale Play Textile–Kora Grass Royale Play Textile–Kora Grass Base Coat: Subtle Tint–7899 Top Coat 1: Ski Valley–7911 Top Coat 2: Peanut Butter–8559

The quintessence of relaxation, the Kora Grass finish soothes and calms your mind transporting you to a realm of laid back comfort. Use this finish to transform your living room or patio into a zone of tranquillity and peace.

Royale Play Special Effects Tool for Kora Grass » Yarn Tool + Kora Grass Tool

Royale Play Textile–Kora Grass Base Coat: Alto-N–2353 Top Coat 1: Pearly Green–9368 Top Coat 2: Lime Accent–7727

Royale Play Textile–Kora Grass Base Coat: Fawn–ON05 Top Coat 1: Roasted Beans–8765 Top Coat 2: Dried Spices–8749

All textures are printed representations and may vary slightly from actual textures. Please refer to the Asian Paints Royale Play Textile book for exact texture reference.



3 Royale Play Textile–Yarn

5 Royale Play Textile–Crushed Silk Royale Play Textile–Yarn Base Coat: Orange Essence–8009 Top Coat: Deep Spice–7997

Imagine a thousand balls of wool whose yarn has unravelled and become intertwined with one another. That was the inspiration behind Yarn, a wonderfully playful finish for those who want to bring a touch of fun and whimsy into a space. Its application is apt in spaces for social gatherings such as restaurants and living rooms.

Royale Play Textile–Crushed Silk Base Coat: Purple Blush–9124 Top Coat 1: Shady Purple–9119 Top Coat 2: Escapade–7141

Created to enhance the splendour of a home this finish is inspired by silk—a fabric that has been associated with wealth and grandeur for centuries. Understated yet potent, silk is the perfect embodiment of elegance. The regal, modern, and ultra-chic qualities of the finish will help create spaces of inimitable grandeur. It can be used to highlight the luxurious settings of hotels and showrooms.

Royale Play Special Effects Tool for Yarn » Yarn Tool Royale Play Special Effects Tool for Crushed Silk » Trowel + 3" Scraper

Royale Play Textile–Yarn Base Coat: Sun Dial–7928 Top Coat: Plum Cake–8200

Royale Play Textile–Yarn Base Coat: Riverdale–9264 Top Coat: Meadow Path–7541

Royale Play Textile–Crushed Silk Base Coat: Indian Spice–8568 Top Coat 1: Lazy Brown–8591 Top Coat 2: Memories–8580

Royale Play Textile–Crushed Silk Base Coat: Day Dream–8091 Top Coat 1: Passion Fruit–8141 Top Coat 2: Pure Red–8093

4 Royale Play Textile–Jute

6 Royale Play Textile–Leather Royale Play Textile–Jute Base Coat: Subtle Green–7508 Top Coat: Valley Green–7511

Indulge in an earthy finish inspired by jute—a natural golden fibre intrinsic to the Indian cultural heritage. Being incredibly versatile this finish can be used to highlight a contemporary setting in a modern space as well as rusticity in a country-styled setting.

Royale Play Textile–Leather Base Coat: Ceramic–3122 Top Coat 1: Peanut Butter–8559 Top Coat 2: Carmel Custard–8534

Suave, understated, and always sophisticated, this finish draws its inspiration from leather. The classic timelessness of the finish when used for a study or an office impresses class, luxury, and elegance.

Royale Play Special Effects Tool for Leather » Special Effects Brush

Royale Play Special Effects Tool for Jute » Yarn Tool + Special Effects Comb

Use Royale Play Textile for commercial and residential interior design projects to add character to a space. Refer to the swatch card in CQ 10 for actual texture samples. To place an order for the Royale Play Textile book, please fill in the enclosed feedback form.

For more information T 1800 209 5678 E

Royale Play Textile–Jute Base Coat: Bed of Roses–8113 Top Coat: Essence–8099

Royale Play Textile–Jute Base Coat: Raisin Delight–X127 Top Coat: Orange Vision–X110

All textures are printed representations and may vary slightly from actual textures. Please refer to the Asian Paints Royale Play Textile book for exact texture reference.

Royale Play Textile–Leather Base Coat: Sonnet–L146 Top Coat 1: Nickel Grey–6126 Top Coat 2: River Silt–8440

Royale Play Textile–Leather Base Coat: Pantry Plum–7229 Top Coat 1: Midnight Oil–8333 Top Coat 2: Pale Sisal–L155



With the onset of October the subcontinent plunges into multiple occasions of joyous celebration. Across India, rituals & festivities find expression in a riot of colours, textures, & motifs.


n this issue of Colour Quarterly we explore the colour stories of festive India through conversations with three design professionals representing three unique design practices based in India—Ambrish Arora (Lotus), Mayank Mansingh Kaul (The Design Project India), and Sarthak Sengupta (Sarthak Sahil Design Co). Inspired by the issue theme colour (Deep Pink–X132), the three design professionals talk about their colour ideas based on the festive theme. In “Essence of Indian Celebration” and “Colour Inspiration”, each designer shares their interpretation of and inspirations for India Celebrates, and presents a custom colour palette for the same. In the section “Showcase”, each designer delves into their folio of work, selecting an instance of the festive theme from a diverse selection of projects—ranging from a craft fair, to textile and apparel, and furniture and lifestyle products.

Ambrish Arora


Colour Inspiration

“India Celebrates” for us finds meaning in the freedom to celebrate our diversity and in not being shy about expressing ourselves. India is a country of rich traditions, vibrant colours, and age-old craft techniques. For us, a celebration of India is not in the reminiscence of what once was but rather is in the ability to revive traditional materials and techniques through contemporary interpretations that seamlessly weave our past with our future.

Our inspiration for this colour palette comes from the anteroom of the Shiv Niwas in the City Palace at Udaipur, Rajasthan. The ceiling and wall decorations are crafted in finely cut painted glass to create intricate motifs which follow the Rajput tradition of using colour to make a decorative statement. This crisp, fresh palette is an ode to the vibrancy and fine craftsmanship found abundantly in our heritage, which when reinterpreted is still relevant today.


Architect and Interior Designer Design Principal and CEO Lotus Lotus is a multidisciplinary design practice whose work includes design for interior and exterior spaces, ranging from large architectural ideas to the smallest furniture details. Ambrish Arora, Design Principal & CEO at Lotus, has over 20 years of domain experience, and has worked in India and abroad as part of design teams on diverse projects including hotels, F&B spaces, retail design, offices, residences, furniture, films, museums, and exhibitions. Ambrish trained and worked as a boat designer before turning his interest to architecture and interior design. He was a partner at Design Habit, a leading exhibit design firm in New Delhi for three years, before setting up Lotus in June 2002. He has also served as a visiting faculty to NIFT Delhi, a consultant to NID Ahmedabad and a visiting juror to the School of Interior Design, CEPT Ahmedabad, apart from being a keynote speaker at several design events in India and abroad. Basra Pearl-N–0974 | R 226 G 217 B 198

“Colour plays a significant role in our design process. It is a key supporting element that accentuates the chosen design direction. As a practice, the use of colour for us, finds expression in the celebration of materials in their natural state. The subtle play of varying tones of the colour of a material combined with its texture helps define the character of a space. On occasion, colour can also feature as the primary element in a space that guides the design approach itself.”


Colour Inspiration for Ambrish Arora's Colour Palette.

Conifer–7559 | R 108 G 167 B 147

Deep Pink–X132 | R 174 G 49 B 98

Ambrish Arora Colour Palette

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.



AMBRISH ARORA'S SHOWCASE The Patiala Crafts Mela is an annual fair held in February around Qila Mubarak in Punjab, which brings together artistry and fine craftsmanship from various parts of the country. Our brief for this project was to create a vibrant low-cost outdoor environment that embodied the spirit of the Mela. Inspired by the colours of phulkari, an embroidery technique native to Punjab, we worked with brightly coloured cotton fabrics to create a playful and festive atmosphere. The choice of materials was crucial as we were looking for a cost-effective solution and could only work with local tenting contractors to execute the project. We chose to work with reusable materials such as cotton fabric and bamboo, and created a variety of sheltering structures by playing with how the materials responded to the elements such as sunlight and wind. 2

“We worked with brightly coloured cotton fabrics to create a playful and festive atmosphere.”

MAYANK MANSINGH KAUL Textile and Fashion Designer Creative Director & Founder Director The Design Project India Mayank Mansingh Kaul is a Delhi-based textile and fashion designer working with contemporary Indian hand-crafted textiles. A graduate of the National Institute of Design, Ahmedabad, Mayank has worked in the field of Cultural and Creative Industries at the Planning Commission of India. He is the Founder Director of The Design Project India, a notfor-profit organisation that supports writing and curatorial projects, and is an archive of modern and contemporary Indian design. He has written on Indian culture, design, and the need to revive India's vast craft heritage for publications like Vogue India, Mint Lounge, Domus International, and The Craft Revival Trust. His design work has been featured in international publications including The Financial Times (London) and The National (Abu Dhabi) along with several Indian publications.

“As a textile designer mainly producing western styles and silhouettes, unique ways of using colour helps me differentiate my products. Since my clientele is mainly international, this allows me to add a touch of “India” whether through accents or detailing over neutral colours like blacks, greys, whites, and beiges. For the limited edition fashion ranges produced for the Indian market, we reverse the order, using bright colours like fuchsias, reds, blues, and yellows with neutral accents, thereby subduing their garish overtures. As the main fabrics I use for the fashion lines are natural and often organic, I also like to match bright colours with natural and vegetable dye tones like taupe, lavender, & pale indigo to bring a vintage touch to the garments.”



The colour palette for the Patiala Crafts Mela, 2005 was inspired by embroidery techniques from Punjab.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.



“India Celebrates” to me means an abundance of bold and bright colours subdued with nuanced lighting allowing subtle movements in them, enabling a myriad play of shades and tints. India is a land where riots of colours are commonplace—from everyday events to the most sacred of occasions. I find that it is exciting to subvert these bold, bright colours with dark tonal values and hints of gold and silver which allow the colours to acquire an intrinsic dynamism. Colour Inspiration

Translucent Green–7513 | R 125 G 219 B 212

My festive colour palette consists of quintessentially jewel tones—the red and green is a combination often found in Buddhist monasteries. The reds here are used predominantly for their various symbolic and spiritual values, as also for their availability in natural materials like stone and lacquer. Often the different shades of red acquire a rich and layered quality, and when used together they appear as one, yet ever-changing in their reflective qualities. I find that colours like sea-green or turquoise blue lift these qualities of red. With this palette I am immediately transported to the world of Buddhist monasteries in Ladakh and Himachal Pradesh, where large expanses of red walls are accentuated with the green and gold detailing of idols and a hint of glistening fuchsia rubies visible through candlelight.

Signal Red–0520 | R 189 G 46 B 50

Deep Pink–X132 | R 174 G 49 B 98

Mayank Mansingh Kaul Colour Palette

SHOWCASE The Devi Ratn Hotel in Jaipur, Rajasthan is a five star boutique hotel, and as the name suggests uses the leitmotif of Indian jewels— ratn. The guest rooms here use a combination of new materials and traditional hand-crafted architectural techniques and are inspired by different jewels. The interior design technique plays with monochrome effects and employs novel expressions of style whether through use of digital pichwais (Rajasthani paintings), reflective stones, or ceramic tiles, which allows for an opulent play of colour. Naturally, colour was the starting point of the textiles for the property. However, I was keen that we add, keeping in mind the design approach of the interiors, a three-dimensionality to the two-dimensionality of textiles. I therefore used multiple versions of the same colour in the same fabric within each room, to create patchwork textiles which would look threedimensioned and bounce off different shades. 3

Colour Inspiration for Mayank Mansingh Kaul's Colour Palette.


The rich colours at Devi Ratn Hotel emphasise the opulence.





Colour Inspiration


“India Celebrates” to us means Joy, Tradition, Unions, & Gifts. Most Indian festivals are celebrated as a community. It is about leaving one’s individual identity and becoming part of a bigger entity, and thus the significance of Unions. Indian festivals are a living culture that are deeply rooted in history, symbolism, and mythology. Thus Joy symbolizes the living and Tradition symbolizes the legend. As for Gifts—well, everyone likes presents.

The pink and the green together are reminiscent of the colour combination of a traditional Indian saree. They contrast each other and may seem loud for a western audience but remain a classic combination within the Indian context. The orange symbolises culture and wellness, which again is rooted in tradition. Inspiration and context for this colour comes from the iconic marigold flower, spices, diyas (terracotta lamps), henna, and kesar (saffron).

Our Katran collection is a unique expression of the Indian celebratory theme. Developed as part of the Zero Kilometer® Design concept, the Katran collection has been an effort to design ethically responsible, ethnic products which are ecologically sustainable. Katran in Hindi means small pieces of left over cloth which are the by-product of textile mills. These pieces of cloth are collected by farmers during the off-season, spun into rope and sold for additional income. The rope is used to weave traditional Indian day beds called khatiyas. Our effort has been to use this vibrant, colourful material in an innovative way to create a collection of contemporary furniture and products that are sustainable, beautiful, and have a “glocal” appeal. The furniture is completely handmade and is produced through ethical interactions bet-


Product Designer Director Sarthak Sahil Design Co Sarthak Sahil Design Co was founded in 2009 by designers Sarthak Sengupta and Sahil Bagga, with the belief that ‘ethics, ethnic, and ecology’ can be interwoven with contemporary lifestyles. Prior to founding the studio, Sarthak Sengupta, a graduate from NIFT, New Delhi and Sahil Bagga, a graduate from College of Art, New Delhi studied furniture design and product service system design in Milan. The studio designs products and interiors that are beautiful, functional, and “ASAP” (As Sustainable As Possible). Their expertise lies in customising products, furniture, lighting, and installations that make innovative use of Indian craftsmanship and materials to furnish contemporary spaces such as boutique hotels, residential properties, and restaurants. Besides product design, the studio also provides holistic design solutions which includes creative management, knowledge of production chains, communication design, and the ability to synchronize these different processes.

ween various people within the production line, from the village to the city. Owing to the handmade nature of the furniture, as well as the diversity of colour and texture of the rope, each piece is exclusive and unique.


EXPERT COLOUR PALETTES Colour palettes derived from the swatches chosen by Ambrish Arora, Mayank Mansingh Kaul, & Sarthak Sengupta reflect the season's celebratory theme with the colour Deep Pink–X132.

Deep Pink–X132 | R 174 G 49 B 98

“Colour decisions are dependent on the project but usually arrived at during the initial stages of design after a core concept has been determined. Creating colour boards and material boards help provide solid insights to the direction of a colour palette for a particular design project.”

Ambrish Arora Colour Palette

Emerald Lights–X155 | R 9 G 104 B 69

Orange Peel–7957 | R 255 G 154 B 5

Sarthak Sengupta Colour Palette 5

Colour Inspiration for Sarthak Sengupta's Colour Palette.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Through conversations with designers and architects, Asian Paints presents a story developed for Colour Quarterly which focuses on the significance of colour and its inspired usage. The colour swatches and palettes shown here have been selected using the Asian Paints Colour Spectra PRO—a professional shade tool which consists of 1800 colours from Asian Paints in large size swatches.

For more information T 1800 209 5678 E

Mayank Mansingh Kaul Colour Palette

Sarthak Sengupta Colour Palette

A handmade tray table from the Katran collection.



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HUES As summer takes leave, Mother Earth ushers in the most benevolent season of all—autumn, a time of multi-hued splendour.



Colours of an Indian Autumn


n India, the departing monsoons signify the beginning of autumn. Nature paints our landscape in fresh, cool, and clean shades. The morning sky is a fresh, soft shade of blue deepening as the day goes by into brilliant cerulean. Leaves glow green having been washed of summer’s dust by the rain. The Coromandel and Malabar coastlines are particularly advantageous as the setting sun treats everyone to a sky dramatic with slashes of smoky violet, gashes of orange, and accents of red. As the glowing disc dips below the horizon, soft blends of grey and mauve curtains fall upon this daily spectacle. The colour of autumn sunlight is distinctive in itself. The brassy yellow glare of summer gives way to mellow radiance—a pale ochre that’s best captured by the word godhuli—that time of the day in villages across India when the cows come home and the dust kicked up by their hooves glows golden in the slanting sun rays. In one of his greatest works, “Meghaduta,” the Sanskrit poet Kalidasa, likened a passing cloud to a messenger of love. The colours are a significant part of the imagery in the poem.

Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss’d cottage-trees, And fill all fruit with ripeness to the core… — “To Autumn,” John Keats 4

Rich Olive–9381 | R 125 G 119 B 83

Rich Tan–7965 | R 203 G 129 B 53

Mustard–7901 | R 234 G 180 B 30


The autumn comes, a maiden fair In slenderness and grace, With nodding rice-stems in her hair And lilies in her face. In flowers of grasses she is clad; And as she moves along, Birds greet her with their cooing glad Like bracelets’ tinkling song…

Window Blue–9143 | R 109 G 134 B 172

Inca Ruins–7855 | R 224 G 210 B 125

Glorious Sunset–X111 | R 248 G 144 B 38

Colours of a Temperate Autumn

— “Meghaduta,” Kalidasa 1 2

Indian Autumn Colour Palette


Autumnal sunsets at the Malabar coast are a visual spectacle.


The departing monsoons signify the start of autumn in India.

All textures are printed representations and may vary slightly from actual textures. Please refer to the Asian Paints Royale Play Textile book for exact texture reference.

In temperate zones autumn is the time of falling leaves. As the season rolls by, greens give way to a spectacular range of russet, terracotta, tan, coral, burnished yellow, and roast brown. But there’s more to autumn than rich, mature colours. In the western hemisphere, autumn is an all-too-brief season of transition before the onset of a long, freezing winter. As the season nears its end, nature adds new colours to her palette, moving from warm gold, mustard, and brown to soft neutrals. The sky loses its exuberance, fading to infinite shades of grey. Rose bushes stand bereft of blooms, save for a few tired damask petals. Fallen leaves drenched in chilly rain turn to dull taupe. While every season captures nature’s hues in its own distinctive way, none have stirred the imagination as autumn does with its splendid range of colours. In cultures worldwide autumn is synonymous with harvest and therefore, plenitude. Western classical art frequently personifies the season as a woman. For example, the Renaissance painter Botticelli’s, “Autumn or Allegory Against the Abuse of Wine” depicts autumn as a mother accompanied by two small children. On her head she carries a cornucopia of ripened fruit. A common theme in work

Temperate Autumn Colour Palette

by Alphonse Mucha is also the allegory of seasons as women. Willowy young women, in long flowing robes surrounded by stylised, ornamental, natural forms in pastels are typical of Mucha’s style. In his work, autumn is defined with the use of dry leaves and fruit, and harvest in hues of orange and red. In addition to art, the Romantic poets such as John Keats found inspiration in autumn and wrote evocatively of its abundance as well as its melancholy.


Colours of autumn foliage in temperate zones.


Detail from Autumn, 1896 by Alphonse Mucha.

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The second part of the series The Colours of Navarasa, explores in detail two of the nine Rasas—Hasya (Joy) & Karuna (Compassion) along with their traditional and modern colour associations.


Colours of


Hasya Karuna

n the Natyasastra, each Rasa, which is the essence of an emotion elicited by a performer, is ascribed specific colour families. The links formed between colour and emotion are constantly evolving to include associations that are influenced by our present day surroundings. The Navarasas, a unique feature in most classical dance forms, are best represented through Bharatnatyam. The name, Bharatnatyam, is formed by three words in Tamil— bha or bhavam (expression), ra or ragam (music), and ta or talam (rhythm). Facial expressions and hand gestures, known as mudras, are systems used to express the entire range of human emotion. While colours are also associated with the Navarasas, facial expressions take precedence in Bharatnatyam.



HASYA (JOY) The first emotion explored in this series is Hasya. It is not a unidimensional emotional state, as it includes degrees of laughter, mirth, and happiness. According to the traditionally ascribed colours of the Navarasa, joy is associated with the colour white. Over the years, however, the traditional associations of joy to the colour white have evolved to accommodate changes introduced by modern Indian lifestyles. A study undertaken by Colour Quarterly earlier this year has shown that these associations have become more complex and intricate. Emotions can evoke certain personal associations, as well as separate physiological responses. While the experiential and personal associations are learned through memory, experience, and media; generic and biological responses to emotions are innate and can be labelled typical or archetypal. The colours associated with joy are explored through these two categories.

KARUNA (COMPASSION) Both of these categories speak of happier times, nostalgia, nature, and freedom. Activity, anticipation, and energy are also common across the categories. While the colour families might differ for different demographics, the characteristics of the colours remain constant. For example, a vibrant green might evoke a happy feeling, as would a vibrant yellow or an upbeat pink. The distilled characteristics of the emotion would primarily be strength, intensity, and vibrancy. Examples of known triggers of joy include food, nature, kites, and freedom. LEAD COLOURS Tons of Sun–7895 | R 251 G 220 B 117

Courtyard–9519 | R 126 G 116 B 95

Passion Fruit–8141 | R 134 G 58 B 94

1 Archetypal Associations Green and yellow are the two colour families that are predominantly associated with joy in the present day Indian context. The colour quality is bright, saturated, and pure. They also directly refer to good health, nature, and the outdoors. The presence of pinks and purples reflect a more personal representation of happiness—symbolising lightheartedness and a carefree attitude.

2 Experiential Associations Experiential associations of joy focus on nostalgia and are rooted in childhood. It is dominated by tints of coral, bright orange, and blue. Coral and orange are fast becoming colours associated with nostalgia and personal reflection. Blue refers directly to the colours of the sea and sky, with undertones of fun, play, and high energy.

Joy is associated with the intangible feelings of nostalgia, motion, anticipation, belief, and continuity.


The second emotion in this series is Karuna. It is a complex emotion with undertones of sadness, pity, mercy, gratitude, and helplessness. The mix of so many sentiments creates interesting and complex colour associations along with their accompanied thought processes. As with joy, compassion is reviewed under the lens of archetypal and experiential associations.


1 Archetypal Associations The predominant colour families that are associated with compassion are light blues, rich purples, and whites, revealing an equal blend of pastel and saturated colours. Expectably, but interestingly, there are several religious connotations to colour associations with compassion. Jewel-toned purple is reminiscent of robes worn by Christian priests during Lent, synonymous with sacrifice, discipline, and compassion. In addition to religious significance, purple was a sign of power and wealth—signifying those whose duties were to show compassion and to help less fortunate people. White also denotes purity in a spiritual sense, separate from innocent or peaceful connotations. Blue is associated with strength and stability.

Sunset Orange–9398 | R 211 G 110 B 106

Colour Play Experiment with & mix the colours given to create a joyous mood for your home.

Hasya Colour Palette

2 Experiential Associations This category consists of grassy greens, blood reds, and neutral greys. Green is associated with nature and life, while red is associated with pain and bleeding. The grey stands for sadness, depression, and uncontrollable consequences.

Compassion, a universal emotion, does not have many stark differences between the archetypal and experiential associations. Compassion towards animals and nature was an unexpected, yet recurring finding of this study. The jewel-toned purple and the grey together, although contrasting, aptly outline the complex nature of compassion. The characteristics of both experimental and archetypal colours associated with compassion are purity, intensity, power, and maturity. Object associations for compassion include pain, fire, peace, security, spirituality, and health.

Please share your feedback by writing to us at

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Evening Pansy–8207 | R 148 G 131 B 141

Biscuit–9520 | R 144 G 133 B 113

Moccasin–8763 | R 219 G 209 B 197

ACCENT COLOURS Scarlet–8085 | R 190 G 37 B 53

Eclipse–8325 | R 74 G 75 B 68

Pearl Star–L103 | R 246 G 243 B 233

Gauguin Blue–7344 | R 135 G 180 B 212

Compassion is associated with feelings of protection, transparency, fluidity, and freedom.

Rich Chocolate–8645 | R 101 G 71 B 55

Colour Play Experiment with & mix the colours given to stir feelings of compassion.

Karuna Colour Palette



Cairo—5000 years of civilisation


here are few places where the drama of colour plays out with such startling vividness as in Egypt, the birthplace of one of the world’s greatest civilisations. To experience Egypt is to glimpse the soul of colour. The Nile River has for centuries defined Egypt’s civilisation and culture. Its waters cut a vast, mud-brown and smoky blue swathe across the hostile desert transforming the adjacent lands into the fertile green Nile Valley. Ancient Egyptians named the river Aur, meaning black, for the dark alluvium deposited by the river’s receding flood waters every summer—a yearly miracle of regeneration that led Herodotus, the Greek historian to state, “Egypt was the gift of the Nile.”

Al Qahirah (Arabic, meaning victorious), Jewel of the Nile, or as the Egyptians say, Umad-Dunya (Mother of the World)—Cairo, Egypt’s capital city is a seductive melange of sandstone mosques and high-rises, crazy traffic, smog, and shrieking hawkers. Presiding over the grand anarchy of Cairo within the medieval citadel of Salah al-Din, are the plump white domes of the Ottomanstyle limestone and alabaster Mosque of Mohammad Ali. On the streets, the embellished beauty of Islamic architecture overwhelms. Sadly, grey streaks of poverty darken this ancient splendour—vastly humbler homes exist cheek by jowl with grand mosques and gateways. The cavernous Khan el-Khalili bazaar is an Arabian Nights dream come true, shot with medieval hues, redolent with spices. Glittering brass ware, gold and silver jewellery, and multi-coloured carpets assault the senses. West of Cairo lie the Pyramids of Giza—pale pink, beige, russet, deep brown—the sun playfully alters their colours as it moves across the blue canvas. The Egyptian Antiquities Museum overflows with the treasures of the Pharaonic Age, from the famed Tutankhamen collection to mummies, coins, and masks. Gold, lapis, turquoise, amethyst, and jasper gleam out of exquisitely crafted bracelets, collars, and headdresses of the royal jewellery.

The Mosque of Mohammad Ali built in the architectural style of the Ottomans is located within the Salah al-Din Citadel in Cairo.



The external facade of the Mosque of Mohammad Ali.

Royale Play–Dune Gold–M003

Dune Walk–8571 | R 235 G 214 B 190

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.


24–25 2

The Sinai Peninsula—Desert splendours


The Sinai Peninsula in the east is hallowed land. Mount Sinai is famed for being the legendary site where Moses received the Ten Commandments. Here, the desert never ceases to surprise and the Coloured Canyon is a labyrinth of barren cliffs, a crazed canvas of yellows, purples, golds, and reds twisting and blending into spectacular formations. Beneath the cobalt waters around Tiran Island in the Gulf of Aqaba, coral reefs sway gently in profusions of fuchsia, jade, lemon, and lavender. Every imaginable shade of blue is visible in the saltwater Magic Lake at Ras Mohammad National Park. Sunrise–0526 | R 232 G 116 B 52

Twilight Zone–7325 | R 34 G 75 B 143

The sandstone temple ruins of Karnak, built over a period of 1300 years to consecrate the Theban triad of Gods, Amun, Mut, and Khonsu are jawdropping in scale and execution.

Luxor—Celebrating the glory of the gods


Red Sea coast—An aqua paradise


The coastal areas are famed for the abundant marine life that inhabits a long stretch of coral reefs.

500 kilometres south of Cario, Luxor sits on the banks of a lovely segment of the Nile, whose deep blue waters are dotted with white felucca sails. Once the site of the 4000 year-old Egyptian city of Thebes, Luxor’s past overwhelms its contemporary identity. The open air temple ruins at Karnak are famed for being the largest ancient religious site in the world. At the centre of the ruins sit the main Temple of Amun. The Great Hypostyle Hall which sprawls over 5000 square metres is a silent testament to the architectural vision and engineering skills of its creators. Its roof no longer exists but the 134 earth-toned columns and outer walls remain, covered with inscriptions, carvings of battle scenes, and important events during the reign of Seti I, his son Ramses II and their descendants—a priceless historical record. South of Karnak, the blue expanse of the Sacred Lake fed by the Nile is a symbol of the primeval ocean and the waters of creation. A massive statue of a scarab beetle, symbolic of ancient Egypt, overlooking the lake was commissioned by King Amenhotep III. A wavy hieroglyphic encircling the walls represents the flowing water of the Nile.

Far from these desert wonders, the Red Sea coast on the eastern border of Egypt is an 800 kilometer stretch of white beaches, crystalline water, and the jewelled beauty of coral gardens. Wadi el Gemal (Valley of Camels), a national park, comprises of 7000 kilometers of diverse natural habitats. The blues and greens of the ocean, palm groves, and sea grass beds transition into the browns, yellows, and beiges of the desert. Egypt’s unique geography and the legacy of her ancient cultures blend into a tapestry of colour and beauty that never ceases to inspire and amaze. History continues to weave in new skeins of colour into this fabled land.

Balsam Brown–8520 | R 204 G 169 B 120 Egypt Colour Palette Royale Play–Canvas Base Coat: Rocky Cliff–8632 Top Coat 1: Red Earth–8029 Top Coat 2: Cozy Cabin–8509


The Sacred Lake was a holy site for ancient Egyptians priests.


Hieroglyphic carvings on a pillar at the temple ruins of Karnak.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Please share your feedback by writing to us at


The Coloured Canyon rock formation in the Sinai Peninsula.


The Red Sea borders Egypt in the east.




he value a culture places on education can be seen in the design, construction, and maintenance of their educational institutions. It is here that students encounter information and concepts that provide the building blocks of their lifelong learning. The way these buildings appear—their architecture and interior design—must reflect the activities they are designed for and that take place within them. Colour can also reinforce the goals of an educational institution—whether it is designed for the pure assimilation of information and subordination of students or whether it’s designed to promote creativity, free thinking, and independence. The use of colour in the design of these spaces shapes the educational experience and must be undertaken with care. Successful design utilizes colour to create a nourishing environment that stimulates learning while supporting the individual and social processes of development. Well designed educational spaces provide students with an aesthetically pleasing visual experience while supporting the goals of the facility. In addition to addressing the mandatory architecture-related criteria, colour can be used to: • Create a sense of trust and security • Encourage communication • Stimulate creativity • Energise the senses • Motivate and stimulate behaviour

COLOUR FOR EDUCATIONAL INSTITUTIONS by Kate Smith, CMG, CfYH Colour has a profound effect on our daily lives and its impact begins at the earliest of ages. From childhood through adulthood, specific colours have meanings and connotations that grow along with us in our lifetime. Even the earliest education efforts rely on colour, such as teaching preschoolers that the colour green means “go” and red means “stop.” More than just a reference tool, colour creates an environment that is able to promote and enhance learning.

Strategic Colour Choices While choosing colour in the context of educational design, you must address the specific type of learning that the environment is being designed for, as well as the target age of its students. For the purpose of defining the users and the goals of each facility, we will broadly classify these categories as preschool, school, and higher education. Preschool The preschool is a center for play and playbased learning for students between the ages of three to six years. In preschools, the goal is to help children develop their cognitive and emotional skills, as well as to develop their personality and expand their social skills. An important design goal at this level is to facilitate the development of sensory perception as it relates to emotions, cognition, and thought processes. It is important to recognize that the design of the learning environment for this age is critical. For example, a stimulating environment can motivate a child and allow him to gather complex emotional and intellectual experiences. Up to the third year of life, these interactions typically occur with the mother or primary caregiver. Children in this age range require an environment that transmits trust, security, and confidence.

The ideal educational institution is designed to stimulate the mind and senses of this age group while making them feel safe. It should foster responsibility as well as creativity and nurture individual development. All colour and material selections are important at this stage because each one can influence a child’s well-being and behaviour, as well as leave a lasting impression.

The journey into the preschool environment brings with it more independence and greater opportunities for comprehension and experience of the environment.


Polka–7869 | R 255 G 204 B 0

Wet Grass–9349 | R 119 G 157 B 88

Centre Stage–8045 | R 230 G 78 B 58

Preschool Colour Palette


The Ray and Maria Stata Centre at MIT, USA.


The Schoolhouse South Africa project by Cornell University Sustainable Design, focussing on “Learning from Play.”


All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.




Moon Year–7924 | R 251 G 242 B 214

Sunderbans–8519 | R 187 G 149 B 92

Casablanca–7927 | R 239 G 198 B 116

Mahogany–0R05 | R 104 G 47 B 52

Higher Education

Elementary, Middle, and High School In addition to being places of learning and the platform for a lifetime of education, schools provide a social environment and represent a microcosm of society. These learning institutions operate within the world and mimic its social aspects and boundaries. The importance of design that addresses the societal aspects, the school’s constitution, and its pedagogical objectives cannot be overstated. Understanding the unique mission of a school is crucial to its successful design. The age of students, (typically between six to seventeen years), the focus of academics, and any additional vocational or special education offerings must be considered. Today’s learning institutions are challenged to balance the needs of individual children while satisfying standardised

Glowing Rust–X112 | R 232 G 121 B 49

scholastic requirements. This as well as the increasingly demanding role of education in preparing students for society makes the design of the educational environment pivotal. The impact of the classroom space on learning has been studied and proven to be significant. While younger children are influenced the most with learning taking place primarily through observing and exploring, the theory applies to students of any age. An environment that is intriguing and that appeals to all the senses plays a major role in the development of learning processes. Studies also show that students are more likely to participate and be engaged in classrooms with a “softer” design, for example, using carpeting, comfortable seats, suitable colours, and pleasant lighting.

A discussion on the aesthetics of the learning environment is not complete without addressing higher education. It has been proven that colour in the context is best served when it is neither over-stimulating nor understimulating creating a balanced atmosphere. Overall in addition to providing the ultimate environment for learning, and intellectual and social development, a well-designed educational institution also appears friendly, warm, and safe. It can be characterised by its openness and frequently uses warm tones to create a lasting and memorable appeal. Successful design of educational institutions requires designers to address the emotional needs of the students by creating environments that foster their well-being. Ideally, the use colour in these spaces should encourage lifelong learning.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Pure Red–8093 | R 207 G 37 B 43

Asian Paints recommended paint products for educational spaces:


Apex Ultima » 7 Year Performance Warranty* » Colour Stay property makes walls look fresh for longer » Dust Pick-Up Resistance *Conditions apply. Please refer to the Asian Paints Ultima Product and Warranty Guide for more details.

Elementary School Colour Palette

Higher Education Colour Palette INTERIOR EMULSION


The Het 4e Gymnasium in Amsterdam, Netherlands.


An auditorium at Trakya University, Turkey.

ROYALE » Superior Anti Stain Performance » Anti bacterial and Anti fungal shield » Teflon compliant* *Conditions apply. Please refer to the Asian Paints Royale Product Information Sheet for more details.

For more information T 1800 209 5678 E WOOD AND METAL ENAMEL

PREMIUM SATIN enamel » Low Odour » Anti-Yellowing » EN 71 compliant* *Conditions apply. Please refer to the Asian Paints Premium Satin Enamel Product Information Sheet for more details.





Michelle Workman is one of the most sought-after interior designers in Hollywood, with celebrity clients like Jennifer Lopez, John Travolta & Kelly Preston, and Kirstie Allie. She counts decorating legends like Billy Baldwin, Dorothy Draper, and Sister Parish amongst her major influences.


Colour plays a vital role in interiors designed by Michelle Workman.



Sunset Condo Project


Dorothy Draper Goes Avant-Garde For this project Michelle Workman makes use of traditional furniture within a modern space. The plum lacquer walls and white furniture emphasise the avant-garde interiors that achieves a space that is bold and striking. Fine Wine–8109 | R 129 G 53 B 69

Cotton Wool–L104 | R 244 G 241 B 234

“A home should showcase the client’s personality, not the designer’s,”says Michelle Workman. “It is not about me, but about the essence of a client. It’s an art, not a job.”


ichelle Workman’s signature style mingles the modern with the vintage. She’s inspired by the Federal Period, Early American decor, and shows a healthy respect for the French influence on the art of design. At the same time though, she’s very much influenced by the contemporary. Her biggest challenge is getting her clients to see things the way she does. However over the years she has become pretty good at changing traditional perspectives because she knows how to match her clients to colours that resonate within themselves. A client’s personality informs her, giving her an initial direction about whether to go soft or bright. “I always start with colour,” she says. “If I don’t have it, the process becomes craziness for me.” A single woman might want warm pinks, but if her personality isn’t exciting and exuberant, Michelle will take the tone down, keeping it pink but softening it substantially. Another client might want an exciting look and therefore the palette will use combinations of complementary colours to express that personality. She listens for what people like and don’t like in their clothes and lifestyle, their hobbies and interests.  She’s sensitive to whether someone leans towards a traditional or modern point of view. “Once I have those basics down, I’ll go to colour to communicate a large part of their

Summer Harvest–7921 | R 255 G 231 B 167

Sunset Condo Colour Palette

personalities,” she says.“If they’re outgoing and gregarious with a sense of humour, I’m apt to use more colour. If they’re conservative and elegant, I’ll use more subdued colour.” She recently pitched her work to an older gentleman engaged in the finance industry who had an exciting personality, but was also a traditionalist. She elected to go with a conservative navy blue theme, with “pops” of a complementary orange to express his artistic side. “It all goes back to their personalities,” she says. “If they’re fun-loving, the colours are brighter. If they’re sedate and traditional, the colours are more analogous.” To this easygoing perfectionist, the way the eye is guided through a room is highly important. “It’s a flow, versus a stop,” she says. “The eye travels over everything and it all makes sense because the right colours are next to each other.” She won’t hesitate to educate her clients, if necessary. If someone hates something she’s suggested, she’ll ask that they try it out for a few days.  “Then I’ll come back and they’ll say, ‘I don’t know why, but I love it.’”According to her that means that she has read them right.

Please share your feedback by writing to us at

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

WeHo Condo Project


West Hollywood Meets Palm Beach Bright, cool, and crisp interiors were created by Michelle Workman for the WeHo Condo project. White walls combined with edgy hardware helps define a bold glamorous home. Pure Ivory–L124 | R 245 G 242 B 228

Lemony–9358 | R 160 G 175 B 111

Gemstone–9333 | R 72 G 103 B 71


Rich plum lacquer walls contrast the stark white furniture.


The WeHo Condo utilizes a bright and crisp colour palette.

WeHo Condo Colour Palette

Ask Asian Paints



Q. Why are colours on colour-chips and shadecards lighter than actual shades painted on the wall? A. There are many reasons why a colour is perceived differently on a shadecard than on a wall. Listed below are a few factors that play an important role in the perception of colour. Size of the colour-chip or shadecard 1. Colour-chips and shadechards are smaller in size when compared to a wall and are also viewed from varying distances. For example, a colour-chip may be a few inches in height and width and is viewed up close, while a wall is comparatively larger and is viewed from a greater distance. 2. Walls are also viewed in conjunction with other walls which may be differently coloured, while colour-chips and shadecards are viewed in isolation. This is the reason why, on application, colours, textures, and metallic finishes may sometimes clash. 1

Application of paint

Light source

1. It is important to know the procedure for application of paint on walls. Each finish has its respective technique which differs from other finishes. The use of the right primer, base preparation, and tools such as brushes and sprays, as well as the correct number of coats would more likely give you the desired coat of colour on your walls.

1. Often people choose colours in artificial white or yellow light which is drastically different from colours in natural light.

2. It is recommended to check the paint cans before purchase and it is important to use clean tools to ensure painting the right colour. It is also important to maintain certain hygiene practices as a professional when dealing with colour matching processes. For example, ensure that the walls are clean and dust-free. 3. Always update colour-chips and shadecards as the colours may have become dull because of dirt or dust on them. Darker colours tend to fade away while pastels attract dust. It is a recommended practice to replace colour-chips and shadecards after every three years.

APPLICATION OF Apex Duracast Finishes

2. The direction and angle at which light falls on the surface also affects colour perception. It is always recommended to view colourchips and shadecards either in the actual space or in natural and artificial light that mimics the lighting conditions of the space. effect of light on colour

Sea Surf–7442 Natural Lighting For the most accurate colour, it is recommended to view the swatch in natural light.



5 2


Asian Paints Colour Spectra fandeck.


Asian Paints Colour Spectra PRO.


Apex Duracast Scratch Finishes » Requires use of a trowel.


Apex Duracast Rollable Finishes » Requires use of a roller.


Apex Duracast Sprayable Finishes » Requires use of a spray tool.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Sea Surf–7442 Artificial Light Under artificial lighting, (yellow in this example) the swatch interacts with the colour of the light & colour perception is altered.


INCOMING Apex Duracast Venezio


Q. What are the effects of colour on the human psyche and on human health?


Over the ages, Italy has become the fountainhead of inspiring works of art and architecture. The towering Colosseum, the impressive baroque domes, and the unique floating buildings of Venice all bear testament to its heritage. Italy is also home to a unique range of exterior texture finishes which have characterised and made distinctive many masterpieces. Asian Paints introduces one such fine-grained finish to the Indian market for the first time—Apex Duracast Venezio. In the next issue of Colour Quarterly, discover how Apex Duracast Venezio can bring a touch of Italian sophistication to your next creation.


A. Colours are known to have a deep psychological effect on people, triggering moods and behaviour. Experiences with colour is rooted in individual personal association as well as in common cultural backgrounds. This means that colour perception is not universal and may be unique to cultures and individuals. For example, white is related to mourning in India, while in western countries it is associated with peace. Red, for example, is a warm colour that may be associated with energy, comfort, or anger. Cool colours, on the other hand, may be associated with calmness, coldness, or sadness. Designers use this understanding of colour to create contextually suitable settings for various spaces. Colour also has direct application to the field of psychology in the form of light therapy, used to treat common physical and mental ailments. The scientific usage of colour in psychiatry attests to the power of colour, even for household application.

View current issue and archive at

Colour Quarterly 08 February 2012



Q. How does Asian Paints train their team of painters to achieve the best results?


COVER • Charles Roffey » FABRIC INSPIRED FINISHES WITH ROYALE PLAY TEXTILE • Chiaralily » INDIA CELEBRATES • McKay Savage » Ambrish Arora • All images courtesy Lotus , except; • Johnpaulsimpson » Mayank Mansingh Kaul Profile Image • Courtesy Sanjit Das Colour Inspiration • Honolulu Academy of Arts »'The_ Dhyani_Buddha_Akshobhya',_Tibetan_thangka,_late_13th_ century,_Honolulu_Academy_of_Arts.jpg • Shankar Gallery » • Vera & Jean-Christophe » Recent Work • All images courtesy Devi Ratn Jaipur Sarthak Sengupta Profile Image & Recent Work • All images courtesy Sarthak Sahil Design Co Colour Inspiration • Girish Gopi »


A. Asian Paints organises training for contractors and painters for all new finishes that are launched by Asian Paints, in addition to the existing ones. To get your contractor trained, please get in touch with an Asian Paints Representative in your city. However, if you live in New Delhi, Chandigarh, Mumbai, Pune, Ahmedabad, Vadodara, Hyderabad, Chennai, Bangalore, or Kochi, please get in touch with your Relationship Officer. Refer to the Reach Us section for contact details.

For more information T 1800 209 5678 E


The multiple red textures help create lively, playful interiors.


Painted in flat red, the stairwell is a high-energy space.


Royale Play Wallfashion application training with Asian Paints.


Asian Paints training for usage of different wood finishes.

• Larsa » • Amanda Richards » -gallery/4055238785/ • Maari » AUTUMNAL HUES • Brian Snelson » • Jean Bal » • Slack12 » • Alphonse Mucha » the-autumn-1896 THE COLOURS OF NAVARASA • Mukumbura » • Brocken Inaglory » crepuscular_rays.jpg Dancer Images • Courtesy Bhavna Vijai & Anupama Jayasimha Anupama Jayasimha is Bhavna's Guru and she facilitated the shoot. EGYPT—SNAPSHOTS ALONG THE NILE • Jerome Bon » • Kallerna » Mosque_1.jpg • ~W~ » • Le Batteur de Lune » • Dennis Jarvis » COLOUR FOR EDUCATIONAL INSTITUTES • Thomas Hawk » • Cornell University Sustainable Design »

‘Colour Quarterly’ is Asian Paints’ initiative that reflects significance of colours in varied cultures & traditions, and contemporary trends in paints. The objective of Colour Quarterly is to share customers’ penchant for colours with architects, interior designers and other creative people and not to solicit business. Views expressed by the authors are personal and photographs used in Colour Quarterly are illustrative. For more information, visit:

Colour Quarterly 09 July 2012

cusd/7953257974/ • D'Oude Vos » • Enver Duran & Raupp » MICHELLE WORKMAN » MINGLING MODERN WITH VINTAGE • All images courtesy Michelle Workman Q&A • DG Jones » • Heart Industry » REACH US Let us know what you felt about this issue of Colour Quarterly. What would you like to see featured? Have something interesting to share? Write to us at » Asian Paints Helpline » Contact us at 1800 209 5678 for queries on products/colour tools/services Asian Paints painting service » Contact us at 1800 209 5678 (Service available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, Pune)

‘No part of this material may be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying, recording, taping or information storage retrieval system) or reproduced in any disc, tape, perforated media or other information storage device etc. without the written permission of Asian Paints Ltd. All rights reserved. Copyright Asian Paints Ltd. All disputes are subject to Mumbai Jurisdiction only.’ *All Asian Paints products do not contain any added Lead, Mercury, Arsenic and Chromium from April 2008.

The October palette is created using the Colour Scheme PRO app by Asian Paints—the easy way to create professional colour combinations. Pick a colour using our deck of 1800 Asian Paints shades and allow the app to guide you to the perfect Monochromatic, Analogous, or Complementary combinations. Available as a free down– load for Android and iOS smartphones and tablets.

Analogous Combination

Monochromatic Combination

Complementary Combination Deep Pink–X132

Pink Flower–9414

Grape Riot–X138

Red Alert–X124

Fox Glove Pink–5155

Rose Lace–8120


le C

ree k–7 60


Scan the QR code to download Colour Scheme PRO for free to your Android or iOS smartphone or tablet.